Monday, September 30, 2013

We grow attached to bands over our respective lifetimes, and their
members become icons. But as those bands come and go, rise and fall, and their members move on to big, but not always better, things,
we must adjust the way we view them. Ashes Of Ares, for their part, are
three men who have sharpened their skills during their time with
prominent and respected bands in the metal community; Matt Barlow and
Freddie Vidales spending time in Iced Earth, among others, and drummer
Van Williams, a key element to the long time success of the now defunct
Nevermore. But what was is over, and what is must now begin. Immediately
following their splits with former projects, the three united in what
would be, hopefully, their crowning achievement as musicians and metal
icons. And rather than sounding like a hybrid of all those other gigs
along the way, they've formed their own identity; the sum of their three
parts. On their debut album, Ashes Of Ares put a distinctly new
signature on their careers, both as individuals, and as a the massive
juggernaut that has risen from the ashes.

Despite becoming synonymous with the works of Iced Earth, Barlow's voice translate well to his own work, and "The Messenger" makes that more than clear. He hits the marks in verse and chorus, alternating between the deep growls and higher pitch wailing that his range allows. But there is something extra added here; the hooks are far catchier than the previous work of anyone involved, lending the track well to the inevitable live setting sing along. Notably, Williams is at his career best in both sound and speed, ripping through a torrential downpour of double kicks and complicated fills. The transitions, then, become much easier, as one track ends and the next begins. There is a balance between speed and sonic punishment on "Move The Chains," one that is impressive this early in the band's time together. Williams and Vidales seem to have a cohesion together that helps the music leap from the speakers. They elevate each other, rather than battle for lead rights. And with Barlow leading the charge into battle, there is a constant forward motion. That consistency lends itself well to the tempo change that comes on "On Warrior's Wings," a track that could easily be titled a heavy ballad. Sure, there are acoustic guitars in the opening, and the subject matter is emotional derived. But there is no sense of backing off the gas here, and by track's end, you are back into full head swinging glory. The challenge would be to not let your fist extend into the air.

If there is one misstep to be found on the album, it comes in the form of "Punishment." While Vidales and Williams provide a devastating backdrop here, Barlow stumbles on the lyrical content at times, resorting to cliche phrases that never really seem to gel into one flowing verse. His work in the bridge and chorus, though, could be seen as atonement. The soaring cry that ends the track is a signature that only he could put on the paper. Returning to form, "This Is My Hell" is a power thrash anthem that hits all the targets along the way. Vidales lays down a monster lead here, one that quickly becomes an album highlight. This is the best example of a band that is on the same page, each member putting their own stamp; Williams splashes and crashes through verse and chorus, while Barlow hits the highest of highs, and pushes himself to the edge of his ability. While melody plays an important role throughout, it is the grit of "Dead Man's Plight" that stands out, allowing Barlow to adopt the lower, growling register at times. It's difficult to resist his battle cry, as he invites you to tip the balance between dark and light. It is in contrast that tracks like this line up with the following track, "Chalice Of Man." The latter is an all out bruiser, taking any remaining restraints off of Vidales and Williams, and giving them the artistic license to bend, shred, and crush anyone in attendance.

Far more introspective than the album as a whole, "The Answer" sees Barlow belting out his best quivering timber, in a swaying, lighter inducing masterpiece. It brings to mind elements of the Osbourne classic "Mama, I'm Coming Home," both is sound and tone. Later reincarnated as an acoustic ballad in the bonus track area, it manages to be emotional without being distracting from the main arc of the album. Even the light tapping of cymbals at the hands of Williams carries more weight than you would expect. And as before, the shades of lights are immediately overtaken by dark clouds; "What I Am" is not middle of the road track. It comes bursting out of the gate with reckless abandon, Williams kicking, swinging, and crashing his way through a series of dizzying rolls and beats. When the solo portion kicks, just shy of the three minute mark, you are treated to everything you could possibly expect from a band of this pedigree and talent. The album closer, "The One Eyed King" isn't a sappy look back at the album at hand, or even the normal summation we see from albums of this ilk. Rather, it is snare drum fueled piece of intricate guitar work and growled vocals. You would be hard pressed to escape this effort without looking down to see your feet tapping out the beat on the floor beneath you.

With the short attention span of most modern music fans, band breakups and shakeups might, in factm be essential to keeping music fresh and exciting. And while watching your favorites bands go on hold, or your favorite members exit, there is almost always something new coming down the pike. For Barlow, Williams, and Vidales, they will always have their past experiences to draw on; but they've begun to pave a new road for themselves. Ashes Of Ares isn't Iced Earth lite, or Nevermore II, or anything of the sort. it is the collaboration of three musicians at the prime of their careers, making music that comes as naturally to them as heavy riffs come to Tony Iommi. It is both fun and refreshing to hear all three at ease, doing what they've been doing their entire lives. You can hear the comfort in the way they play together, and in the way the songs flow from beginning to end. There is no point in making the comparison between this and the past. Ashes Of Ares is the present, and likely the future, that we have to look forward to. Might be time to make room for your new favorite band.

Saturday, September 28, 2013

An all Brian episode of the Reader Questions! We look back at some of the best questions from the last eleven episodes, and throw them his way. Now you can delve deeper into the enigma that is Brian, learning about some of his favorite female vocalists, his journey into the world of metal, and all those guilty pleasures he hoped you would never uncover.

Special thanks go, once more, to the best band out of North Carolina; the remarkable Bedowyn. The track, "Wolves & Trees," is taken from the album of the same name. Go get it.

Friday, September 27, 2013

One of the most difficult (see: impossible) questions to answer is the one of who is "best." The best thrash band, the best folk band, the best melodic death band. Subjective as it is, there is virtually no way to narrow down the fields of millions and say, definitively that one band stands above them all. We can hypothesize, speculate, or state opinion, but there is no universal answer. But when it comes to the newly exploding post-black metal genre, the field is far more constrictive than the others, and the cream always seems to rise to the top. Maybe it's because mainstream music fans haven't caught on, or that there is little money in that pool. Either way, it is easy to separate the weak from the strong. As Cody McCoy proves, bigger isn't always better; his one man project, Černá, is one of the most compelling names in this particular subsect, keeping the tenets of black metal alive, while infusing melodic and post elements to counterbalance them. On the new album, "Restoring Life," McCoy delivers a performance unlike any in the field today. One man has set the bar high for millions.

Rather than come out of the gate with a massive blast, McCoy uses his first track to cradle you with melodies great and small. "Woken In Prague" isn't an intro track or an interlude; it stands alone in arc and scope, with his guitar and bass work filling the top, middle and bottom of the audio spectrum. Soothing and somber, it shows his melodic sensibility, while still creating the framework for "Společně part I : Shy Sun" in the process. The latter evokes an emotional response unlike most of the hordes of post-black metal bands. Through the use of only instrumentals, he captivates you. Whether it be the guitars that form the vocal component, or the way each kick drums bursts out of the mix as if you are right in front of the kit, it solidifies the entire track. Much in the same way that "Společně part II : Laying Down In The Rain," is ambition brought to life through musical means. With his guitar leads carrying so much of the weight, the rhythmic pounding of drums and bass work isn't merely an afterthought; it is a melody all it's own. Together, they make a nearly six minute piece feel like three. Before you have time to find yourself completely immersed, the last fading notes are coming and going.

But those notes, those last few strums of the guitar that end the second part, also open "Společně part III : Night Sounds," tying the entire thing into one broad reaching work. But it isn't just another movement in the bigger picture, this is a unique and delicate composition. The distortion still rattles the covers on your speakers, but the richness of the bass line changes the tone of the song. When piano keys enter, it fits all too well. havign touched on the soft spoken side, McCoy now brings back the booming kick drums on the fourth and longest part of the series, "Společně part IV : Embrace the Stars." This is the atmospheric black metal construction that so many bands think they're assembling, while falling miles short of their intended goal. McCoy, on the other hand, delivers in all aspects. As a full band, the track would be impressive enough. As one single man, multi-instrumentalist and writer, it stands as dynamic a track as any single song in the metal lexicon. He teases you with anticipation as the volume builds on his solemn string work, making you wait for the moment the drums will blast back into action. They do, in fact, return; and they deliver a blow that will displace whatever hair you have on your head.

The final chapter, "Společně part V : Lullaby" dials back the aggression in favor of subtle sounds and melodic emphasis. A single clean guitar is the only element you need to carry you through. It's delicately, and precisely, plucked strings put you at ease, while single bass notes are struck to back it. But, like many a surprise, it is the unexpected explosion that comes that will resonate long after those notes fade. McCoy packs the mix full, relying on keen production work to make all of the pieces fit together, which they do without issue. With that journey now complete, you can feel yourself coming to the end of the road, albeit with two tracks remaining. The title track, "Restoring Life," is also the one that best reinforces the talents of McCoy, from both a writing and execution standpoint. He cruises through the downtempo portions with no difficulty, continually setting up the hazy atmospherics that come in wave after wave. he does what the "post" genre always indicates, going beyond the genre tag, and expanding the sound to new reaches. In the same way, "Isa" could be used to define the entire sub genre from which it comes, thanks to the surgical precision of each instrument along the way. As great as the guitar work is throughout, it may be the subtle touches from the bass - a single plucked string, a gentle slide up the neck - that sells it all.

While Černá is a one man band, Cody McCoy is not a one band man. While he may be the lone proprietor of one of the premiere post black metal projects in the world, he isn't sitting back, waiting to record. Currently on tour with Traitor, he keeps his musical mind busy, if not loaded. Maybe it speaks to his talent in the songwriting process, or maybe it speaks more to his ability to put thought onto tape. This work, from start to finish, has all of the polish of a major label debut, without all of the pretentiousness of being tagged the next big thing. McCoy has found that pure, unadulterated balance between emotion and art, fusing them both together, song after song, in a way that makes them easily identifiable, while still maintaining that take on the music that is as unique as a snowflake. But perhaps even more impressive is the construction of the album, recording through the use of live instruments, rather than programmed drums. The talent is there, the vision is there. And as a result, "Restoring Life" is breathing fresh air into the lungs of metal.

Thursday, September 26, 2013

We've often spoke to bands rising from obscurity about the difficulties of fielding a full line-up; hence why there are so many one man bands flooding through the scene. For David and Greg Richardson, a full band just never panned out the way they wanted to. After their attempts failed in 1998, they brought the their work to the studio as a duo. Greg would supply guitar and fretless bass, while David would provide the drums and vocals. With help in the lyric department from a handful of writers along the way, they would, several years later, come to be known as Waves Of Mercury. Their foundations lie in the world of doom metal, down tempo and emotionally savvy, but with an emphasis on intricate guitars and melodic harmonies. But where their creative influences begin and end is the true mystery, with some pieces of their work sounding like hero worship, while others could be signs of a lucrative future. Either way, "As Seasons Fleet" will sound familiar.

With the main component echoing the traditional doom sound of My Dying Bride, "Spring's Hollow Bloom" is a six minute evolution happening before your eyes. Instead of a one dimensional track, it changes; the harmonized vocals are the mainstay, while the music surrounding them comes and goes in waves. The shift from doom to progressively more melodic clean passages is an easy one, particularly with a intelligent bass line to pull them along. Layering is key here, with different comnbinations of guitar, bass and drums playing off of one another. Conversely, "The Dying Of Our Summer's Day" is not as successful an endeavor, with the vocals in the verse feeling forced at times. They are immediately redeemed in the chorus, thanks to the psychedelic tremor in the voice of singer David Richardson. A more high tempo second half does wonders for the track as a whole, especially when it is filled with deft musicianship.

The more emotionally written "Falling In Autumn," with lyrics by Antony Johnston, seems to be the best fit for the duo performing it. Classic sounds dominate here, cutting back and forth between driving guitar riffs and smoother ones, bringing together Blue Cheer and Sabbath at times. Greg Richardson, the man behind the strings of guitar and bass, does some of his best work here, mirroring his winding guitar melody with a bass line that moves almost as nimbly. Choosing to go for the most straightforward track on the album as the finale, "Winter, Your Fortress" is a difficult one to dissect and reconcile. You have a song that, for all intents and purposes, is a carefully crafted doom masterpiece, rivaling the current My Dying Bride catalog. However, when David Richardson unleashes his odd whisper growls, it fails to gain any traction. His normal, clean vocal suits the style, as does the spoken word he unveils here; but the other, more passive aggressive side of the coin falls short. Greg, on the other hand, thrives in this setting, creating astonishing amounts of mood with his work.

For as good as the work is by the Richardson duo, this latest output by their Waves Of Mercury project doesn't resonate the way you hope it will. The pieces are in place, but there is something missing. Perhaps it is Johnston's lyrics, which seem to pull David out of his comfort zone at times, causing a few ill advised vocal changes. Or maybe it is that the music itself too closely resembles one of the undisputed titans of the doom genre. Whatever the reason may be, there are plenty of selling points to be found on the EP; picking out which ones work or don't work for you is another story. But with this duo working together, you can be assured that you will get something well above the minimum expectation. How far above remains to be seen, of course. Much like the seasons they reference, their sound changes over time. Where it ends up after "As Seasons Fleet" will play a huge part in how bright their future can be.

Wednesday, September 25, 2013

I’ve always felt that power metal/symphonic metal guitarists
don’t get enough credit. Luca Turilli, Timo Tolkki, and Deshon Petrossi are
three of the best guitarists out right now. They incorporate neo-classical
elements into their songs that never fail to impress. Now a band comes along
and blows my mind even more. Sage’s Recital is comprised of Jakob Vand and Niels
Vejlyt from Infinity Overture, John West from Artlantica, and Franck Hermanny
from Adagio. If that isn’t enough to check this band out, I don’t know what is.
What they have created here is nothing short of a masterpiece. Niels Vejlyt’s
guitar work is absolutely spectacular and without a doubt the best I’ve heard
in years. Even though it’s only seven tracks, “Sage’s Recital” is a completely epic
album that deserves to be listened to again and again.

The album opens with “The Power Within” and it's one hell of
a song. The guitar work is mind-blowing from start to finish and the vocals are
top notch. This song also introduces the listener to the
neo-classical/progressive sound that sticks for the entirety of the album. “You
Hold the Key” is another showpiece of this band’s skill. Everything from the
bass to the drums is played with such precision and care. It also has one of
the best choruses on the album. “The Last Unicorn” is an instrumental track that
is perfectly layered and written. Power metal instrumentals really don’t get
better than this. The opening to “Council of Dragons” sounds like
Trans-Siberian Orchestra on steroids. The solo is a crescendo of blazing guitar
and tempo change prowess. “Immortal Flame” slows things down a little bit, but
it doesn’t ruin what they started with the first track. The solo is one of the
best on the album and the whole song just feels complete. “The Dead of Winter”
is another instrumental track that picks the speed back up and it never stops.
Niels Vejlyt’s guitar work in this song is some of the very best I’ve ever
heard. It will leave you absolutely speechless. My words can’t express how
incredible this song really is. The album closes with “The Last Battle” which
couldn’t be more perfect. It’s the longest track, and it’s full of tempo changes
and great songwriting. It’s by far the best track on the album and one of the
best power metal songs in a long time. It easily fits right up there with
Symphony X’s “The Odyssey.” All of the best elements from the rest of the album
are all thrown together into an unforgettable song. John West hasn’t sounded
better. “Sage’s Recital” ends on the highest note possible.

So there you have it, another band that came out of nowhere
and is just incredible. This album has no low points and it never gets boring.
There is enough of everything to keep the listener glued until it’s finished.
Niels Vejlyt might be the next guitar savior. He sounds better on this album
than he did in Infinity Overture. If anyone is looking for neo-classic power
metal, this is the be-all, end-all album. Again, I cannot express through words
just how good this really is. Just from ten seconds into the first track they
made me a fan and I guarantee they will make you one, too. Listen to “Sage’s
Recital” NOW.

Tuesday, September 24, 2013

Whether or not you've had formal audio engineering training or not, you know that there are limits to how much sound you can justifiably fit onto one recording. It may not be a numeric answer, but a case of logical derivation. Frost Despair, a seven piece band from Brazil, have agreed to throw caution to the wind, and try to fit their own blend of black metal and classical music onto a single recorded file. But even digital media has a limit, one that, when exceeded, can sound like the war has come home. Based on the works of Richard Dawkins, 'The God Delusion" is an album of metal fusion, exploring the thoughts on atheism and the violent spread of religion. But, as these seven tracks reveal, it is also an exercise in proper production and mixing. Seven members, seven separate layers, and one gigantic wall of distortion. With a sound that often gets in its own way, muffling and muting one element in favor of another, it succeeds in message but fails in delivery.

The first track, "The Dark Ages" sets up what is to be a bizarre contradiction. It extends well beyond what you could call an intro track, but remains at a constant level throughout. Touching on the darker side of classical music, it is a composition that is as rich as it is gloomy, adding so much depth to the low end. But rather than build onto that sound, the title track boasts a blasting blackened thrash aesthetic. The orchestral element is still there, but it is now hidden behind a growing wall of distorted guitars and drums. The layering of sounds here doesn't do the track any favors, tilting the mix too heavily towards one element. A trade off between male and female vocals is a treat at times, while exposing how one dimensional each can be without the other. The danger here is packing the mix too full, with a constant peaking of levels detracting from the individual pieces. As it stands, "Damnation" is merely the intro to the following track, "Splendor Of War," although their separation makes little sense, from a flowing perspective. The latter reinstates the symphonic element in full swing, despite drum work that could drown out a war itself. In the quieter moments, particularly when the female vocal is allowed to see lead time, you can get a far more detailed view of the soundscapes. As the drums are dialed back for a guitar solo, it starts to come together.

Unfortunately, the problems persist in the album's second half, rendering "Dark Bachiana" a murky mess of a song. The layers begin to condense themselves into one massive chunk of distortion, a production miscue that makes parts of the track unidentifiable. There are moments where the bands shines, both musically and vocally. The keyboard work here, tinged to echo the sound of a church organ, is top notch when it comes through. The section around the three and a half minute mark is evidence that balance can be found. It manages to extend into the opening stages of "The Final Breath" before chaos reigns supreme. The verse is an organized assault, while the chorus and bridge or hectic, at best. With the drums now dominating the mix once again, half of the track is spent righting the ship, while the other half is spent spinning off course. Beautifully orchestrated piano steers the track back onto the right path, and dazzles you into "At The Gates." In the most impressive piece of musicianship, the keys take over in full here, fluttering and winding through a series of high tempo melodic shifts.

One of the biggest shames of the modern metal experience is when production gets in the way of the final product. Frost despair have written and recorded an album that might have embodied the spirit of their original concept, but fails to meet the threshold for success. Whether the problem be in pre, post, or during the recording sessions, there is a significant hurdle in the way. With multiple listens, one can dissect a lot of the background work that goes on here, from guitars to bass to keyboards. But on first impressions, it could be dismissed as a lost cause. If you could look beyond the faults of the mix, there is a lot to hang your hat on; the guitar work is solid, the vocals are versatile and on the daring side, and the keyboards are worthy of a round of applause. The true shame is that they all shine separately, yet fail to do more than flicker when crammed in so tightly together. if this act can find balance where there was no room for it before, "The God Delusion" might not have all been in vain.

Monday, September 23, 2013

What you, a person, defines as beauty is purely up to you. It could be the shades of orange and red that cover the trees in autumn, or the sound rain makes on a rooftop in a storm. Hell, it could even be the way Kate Upton looks at you from her position on a magazine cover. To each their own, really. But we can find it anywhere we look, including a four track album that rises and falls like the oceans waves. Before The Eyewall is not a band that you'll be seeing at next years VMAs, or on the cover of mainstream music media like AP magazine. But they have something that none of those so called "artists" will ever really represent; they have kept their artistic integrity in tact, making the music they want to make without fear of revolt or desertion. After their 2011 demo, comprised of merely two songs of sweeping melodies and doom inspired passages, there was a certain level of acceptance you had to endure. They were on the verge of something great, and you would just have to sit back and wait to hear what came next. Two years later, their self titled debut album reminds us what beauty is.

The first gloomy soundscapes, courtesy of "Skyrises," are the kind that take you away from your room, your car, or wherever you choose to imbibe the sonic concoctions of your life. For every bit as bellowing and heavy as the music is, it is just as airy and light. The two don't offset each other, so much as they prop each other up. They bend and sway together, attached at the hip by a singular bass line, never in danger of collapsing under their own weight. With each down tempo measure, the mix grows deeper, and the impact grows larger. You'll try to break down each lone element, especially in the latter half of the first track and the first half of "Path of Ash and Desperation," hoping to discover the secret as to how three men can do the work of seven, and produce something so dramatic. Every buzzing guitar line emanates from your speaker with purpose, not a lackadaisical quiver of strings. Guitarist Garrett LoConti isn't just trying to make the ends of the strings meet; he has found a way to bring them together in melody and harmony, even when his level of distortion would seem to make this impossible. Under the alternating wail and whine of his guitar is a bass line that rattles and hums with every plucked string. Bassist Scott Hyatt is the glue here, tying high end to low.

if there was only one opportunity given for Before The Eyewall to prove their creative will, the consensus piece would have to be "Tome of the Concentric Eye." Atmospherically driven, yet melodically powered, it shows off every facet of what the band has in their repertoire. For every smooth flowing point, there is a heavy handed counterpoint, trading instrumental barbs like worthy adversaries and friends. It is songs like this one, and calculated movements like those on display, that show how important and impactful a simple crack of a cymbal can be. Drummer Aaron O'Brien-Eichman does something that many lesser musicians can't seem to grasp; he puts a stamp on the track without being too insistent. Instead, his stick work becomes part of the tapestry. Every pounding tom punctuates a bass line and riff, as they command the next series of snares and kicks. It is the true spirit of give, take, and reply.
And so, it is with "Skyfalls" that the band culminates their work, a spacey, airy piece that is as haunting as it is beautiful. The lead guitar melody is good enough to stand on its own; but it doesn't have to. The layer directly behind it, the light electronic element is the definition of simplistic perfection.

Albums like this one do so much for the creative expanse of modern melodic metal. LoConti, O'Brien-Eichman and Hyatt don't just think outside of their own box; they think outside of the box we've all built around ourselves. We create a safe space where heavy things are heavy, and beautiful things don't exist. But Before The Eyewall offers a different perspective; it shows that those two contrasting elements can not only play nice, but build off of one another. Sure, they aren't the first band to flirt with that dynamic. But the way this entire piece comes together is unlike the mountain of melodic metal albums you've heard this year, last year, or before that. It has elements of psychedelia buried just below the surface, just beneath the mellow, post-doom exterior. It conveys emotion through strength, rather than through uncertainty or weakness. And most of all, this trio does what they've always done, without anyone to steer them in another direction. Nothing forced, nothing inserted to please the masses. This is musical purity.

Saturday, September 21, 2013

On our eleventh episode of the Reader Questions podcast, Darrell is asked some questions that are both existential and fun. Carl wants to know who our top female vocalists are, while Linda asks what we are listening to right now. Trick question? But Grace takes the cake, simply asking "When should a band stop?" I can feel my mind tripping on that one.

Special thanks this week go, once again, to North Carolina's Bedowyn, whose track "Wolves & Trees" graces our opening and closing. Awesome track from a great band.

Friday, September 20, 2013

It's hard not to be excited reading the bio of a band that is new to you. Your eyes dart around the sheet of paper, picking out all of the unique qualities that should make this album, the one that sits in front of you, a mind blowing affair. Conatined on the one page press release for Unshine, a five piece from Finland, are a plethora of words that had our tiny cold hearts aflutter. Druid metal. What that is, we could only imagine; but we were ready to find out. A beautifully conceptualized album cover, with hot and cold, bird and beast. And a concept that is different from those choking the folk world. This band, with all the best intentions, chooses to step back and tell the story of Iron Age era Belgium, waiting to be overrun by Caesar and his armies. All of the recorded history, as we've heard it before, was from perspective: that of the victors. But what Unshine have done here is to go back in time, and retrace those events from the side of the Celtic tribes, preparing for a dramatic change. Through keyboard orchestrations and guitars, "Dark Half Rising" is a war diary of a different kind.

Without hesitation, the beautiful folk melodies come to the fore on "Nadjas Wailing About Coming Of The Frost," which is a stripped down acoustic and vocal introduction. What stands out, early and throughout the album, is how important storytelling is to the arc. Even as the symphonic elements burst in with a battery of drums and screeching guitars on "The Oath To Wilderness Of Unredeemed Nature," the balance between aggression and lyrical content is a strong one. Moreover, there is a noticeable atmospheric quality that runs like a thread behind the vocals. In telling her story, singer Susanna Vesilahti can initially captivate her audience with a tone that is both enchanting and delicate. However, she rarely rises above her baseline. As a result, songs like "Arduinna" don't have the intended impact, despite a rich keyboard performance. This isn't to say the vocals are a failure, but minus a few key harmonies in the chorus, they lack the shine necessary to elevate the song. Choosing to switch gears and shift to the lower register on "Spellbinder," Vesilahti does little to help her cause. Conversely, guitarist and keyboardist Harri Hautala asserts himself here, delivering on both fronts. The breakdown portion of the track, an amalgam of keyboard tones and distorted guitar riffs, is an album highlight.

In tracks like "Defender Of His Faith," the vocal line seems almost disposable, sometimes echoed or mirrored with the dual guitar lines. With Harri and Jari Hautala providing lead and rhythm melodies, the only true need for the lead vocal is the lyrical content it provides. It's delivery is flat, and often times one dimensional. Reverting back to a lot of the emotional tone from the first track, "Their Horses Never Touch The Ground" brings back the acoustic folk elements, now paired with crushing distortion at times. It helps to spotlight where the problem with Vesilahti's delivery lie; her voice, delicate as it is, is better suited for the quiet moments provided here, rather than the full band tilt. Her bandmates hit the ground running (no pun intended) time and time again, leaving her lagging behind. Even when things slow down to a beautiful crawl, with the rhythm section taking over, there is an imbalance. "Idyl" is rooted firmly in the drum work of Jukka Hantula and bassist Teemu Vähäkangas, nailing down the low end with each chugging stroke. Even "The Blood Of Ardennes" creates an interesting dynamic between the singer and her words. At times coated with airy effects, at other times left to her own voice, Vesilahti shines in small doses, particularly in the chorus. As a result, you get what amounts to the most complete track on the album.But when the track times have fluctuated between three and five minutes, staying within those parameters, a nearly thirteen minute offering is intimidating and surprising. Part retelling of legend, part metal epic, it is both risky and ambitious at the same time. By and large, it works on a number of levels, clearly taking a great deal of forethought to create. The segments without vocals of any kind, the nine minute mark being a great example, boost the atmospheric quality of the music tenfold, while also opening up the door for more detailed solos. Whereas the last track was a well rounded affair, this is weighted heavily to the instrumental side. The Hautala trio do the heavy lifting with little resistance, serving up the track on a silver platter. The crackling flames of "Bone Fires," an interlude that seems to be about a deep inhale long, give way to the finale, the sweeping melody "Ategenos (At The Death Of Winter)." Having taken the story from start to finish, you do feel a sense of satisfaction having heard what is, stylistically, an amazing tale. But more than that, it almost sounds as if the band, as a whole, has held something back for this last march. You feel yourself sway with the melody, as a guitar rips off another great piece of fret work. It draws you in more than before, though it is unclear why.

Having all of the parts doesn't necessarily mean you have a successful whole. Unshine seem to have each individual piece of the puzzle locked and loaded, but the end result doesn't echo that. Musically, they haven't got far to go, with so many positives to build on. But unless there is a noticeable change in the flow and intensity of the vocals, it might be hard to move forward. It's less about the style of singing, and more about the all too even delivery the album contains. Perhaps it was a safe play, trying to provide strength through consistency. Or, from the minimalist standpoint, less was perceived to be more. But in this case, there has to be a greater participation from Vesilahti, and she has to break the shackles to deliver a powerhouse performance in the future. While their success or failure might not solely depend on that voice, the scales could certainly be tipped in one direction or the other as a result. In the modern metal scene, where competition is overflowing and brutal, you can't accept mediocrity from any of your parts. The weak link on "Dark Half Rising" might have broken the chain.

Thursday, September 19, 2013

Don't let descriptions of tags fool you this time; symphonic black metal isn't the be all, and end all for In Silentio Noctus. That term, for better or worse, comes with a preconceived notion. Boiled down to the most basic stereotypes, it means black metal with a keyboard. That falsehood, started and furthered by bands before them who simply didn't know where the boundaries stretch do, doesn't do an ounce of justice here. In fact, that is only the tip of the iceberg for this Finnish six piece. There is so much more to be had in this genre, but it takes more than forward thinking to get you there. Luckily, with talented musicians forming the foundation, they have the ability to push those boundaries further and further, clouding the lines between black metal and symphonics once and for all. On their new EP, the three chapter offering wonderfully known as "Disenchant The Hypocrites," In Silentio Noctus remind us that words don't say it all. Sometimes, you need to let the music say it for you.

The first chapter of the saga, "The Pit" is as beautiful as any symphony you could imagine, but with evil undertones. What becomes striking here is the speed and aggression of the instrumental, boasting all of the tenets of black metal, but flanked on all sides by the masterfully orchestrated symphonic elements. Machine gun drums, backed by a crying violin can be moving, especially with the sublime voice of Armi Päivinen layered just above them. Each passage is more grandiose than the last, culminating in a piano outro. It is part two, however, that may cut into you like a knife. "Of Deception" has some of the most intricate and mesmerizing symphonics you'll hear, all before the crashing drums and guitars have even woken from their slumber. It is controlled chaos, a beautiful storm that Päivinen must keep under wraps. Her voice is brooding and hypnotic, but at the same time, it matches the backing band, strength for strength. Never is that more evident, and necessary, as on the final chapter, "Haunted." With the drumming now ramped up to a new level, everything must rise to the occasion. This might be the perfect contrast of Heaven and Hell, an angelic voice over a devilish wave of distortion. If Satan held an opera, this would be it.

We tend to speak in vague terms, and watered down buzz words just to convey what it is, exactly, that a band does best. For the greater good, that isn't an entirely bad thing. But when our broad generalizations start to crystallize into accepted stereotypes, it might be time to refine the naming system. While many bands identify themselves as "symphonic black metal," In Silentio Noctus embody it, bringing the orchestra pit directly to the gates of Hell. It is a constant struggle between light and dark, where neither one can, or should, win control; they must learn to coexist. And on this EP, more than any other in recent memory, light and dark, good and evil find harmony in their contrast, each strengthening the other. Should one take precedent, and the entire house of cards might come tumbling down as a result. Instead, they live together, breathe together, and move together as one entity, winged and horned. It might be easy to just use blanket terms, but there is a danger. What is a rectangle is a square, but a square is not a rectangle. And "Disenchant The Hypocrites" is symphonic black metal where the others are not.

Wednesday, September 18, 2013

This has been a very good year for female fronted metal, with
bands such as Elessar, Tyranny of Hours and Sirenia leading the way. Then out
of the shadows steps another symphonic metal band with a unique twist; Siren’s
Cry. Siren’s Cry sounds like a lovechild between Symphony X and Epica. Their album
“scattered Horizons” combines progressive metal elements with symphonic elements,
all wrapped up with great female vocals. For a first album, it’s really
impressive. It sounds like a major label release and is very tightly produced.
Siren’s Cry may have found a winning combination of styles that make them stand
out above most bands. I don’t know too much about the band, but I do know
they’re excellent.

“S3V3N” sounds like it could be a Symphony X track, but then
Katie Joanne starts singing and all is changed. I don’t think I’ve heard a band
quite like this before. It takes the best elements of female fronted symphonic
metal and fuses it with progressive precision. Every single instrument is
perfectly utilized and balanced. It sounds like they’ve been making albums for
years. “Oratory & Sins” keeps the flow going and it’s another great song.
The chorus is very full sounding and the keyboard makes a nice addition to all
of the layers that are going on. “Elegy of R’lyeh” starts off a little slow but
before it feels like it isn’t going anywhere, it gets interesting. The chorus,
for one, is one of the best on the album and the solo sounds like it belongs on
Symphony X’s “The Divine Wings of Tragedy.” “Draconian Spectrum” is a little
heavier than previous tracks and it too has a great choir sound and an even
better solo. Phillip Porter is one of the best guitarists I’ve heard in a long
time. His songwriting and tone is incredible. Hopefully he will get the recognition
he deserves. “Cold Amber & Scalding Tears” is a pleasant ballad that
ignites the senses. It’s epic, beautiful and engrossing. “Sahara Sagas” is the
longest track on the album and is divided into five parts. It’s also their most
ambitious song. Its use of Middle Eastern sounds works so well, and helps
create a picture of a desert setting. “Serpents of War” is another outstanding
track that cannot go unnoticed. The chorus is the absolute best on the album
and shows that Siren’s Cry is a master at creating huge sounding vocal parts. “Controversial
Mind” closes the album and is the absolute best on the album. It’s their most
technical and their most focused. The guitar solo is completely mind-blowing.
It seems they truly saved their best for last. If the next album sounds like
this, they might just be the next big thing.

So there you have it. Another fantastic symphonic metal band
that came out of absolutely nowhere and they deliver in spades. Their sound is
similar to Symphony X but they are not a rip off. They have their own sound and
songwriting skills. Katie Joanne’s voice really makes Siren’s Cry unique and
memorable. This isn’t some half assed album that will get lost in the flood of
other metal. Every instrument is planned out and played with great care. “Scattered
Horizons” is the real deal and this band has incredible talent. “Controversial
Mind" is without a doubt one of the best metal songs I’ve heard this year. For
fans of progressive or symphonic metal, this is an absolute must listen.

Tuesday, September 17, 2013

If you've had a recurring nightmare in which Gremlins or creatures crawl through your wall outlets in an effort to feast on your flesh or the flesh of your pets, now would be the appropriate time to turn away. Your fears will only get worse. But for those of us that need to step away from the norm, and venture into a new metal alley way, the brotherhood of goblins known as Nekrogoblikon may be the tour guides you've waited for. Not everything metal has to be serious and poignant; political and religious opinions do not define our genre, regardless of what the narrow minded few might believe. When the combination black, folk, melodic death metal sounds started emanating from Los Angeles in 2006, it was only a matter of time before they became a global epidemic, infecting all of us with their ridiculous lyrical content and infectious grooves. But now some seven years later, the journey is still only getting started. On their new EP, titled "Power," the merry monsters of Nekrogoblikon have come to put a smile on that face, you frowny biscuit.

It cannot be mentioned enough that the lyrics will come in handy on this journey, beginning with "Friends (in Space)." Sure, the screeched blackened vocals will catch your fancy with or without the aid of actual concrete words, but they deserve to be heard. Because over top of a battery of guitars, crunching riffs, and some amazingly in depth keyboard work, you'll find such gems as "Stuff, stuff in space, lots of stuff!Three dwarf, four dwarf, black hole, fuck you!" Tongue in cheek, but wholly enjoyable and brutally delivered. Following the end of mankind, "Nothing But Crickets" is exactly what you would expect. This is, of course, the battle song of the cricket revolution. Drummer Bready hammers down a marching beat that would make our new chirping assassins proud, while guitarists Tim Lyakhovetskiy and Goldberg shred their way through some bizarrely timed solos. Somehow, this concoction of chirping and blackened folk works wonders, drawing you in with each passing verse. Vocalist and keyboardist extraordinaire Nicholas Von Doom captivates you, whether that be through talent or mind control; the jury is still out on that one.

The first single off the EP, "Powercore," may be the most devastating instrumental on the album, but also the most folk inspired. With a catchy hook found in both verse and chorus, there is no chance of escaping. Throw in what is a great keyboard-to-guitar solo trade off, and you have a track that is unforgettable. It also reminds us that you are truly awful, perhaps even "More worthless than a dumpster filled with pogs." Ouch. That aside, it is impossible to ignore the talent that is collected in this band of fiends. It seems almost wrong for songs with such dark tones and vocals to be this intoxicating, but they do it one again on "Bells & Whistles." It isn't just for a lyrical show, either (though that is a definite); The avant instrumentation, from xylophone to glockenspiel. The beautiful clean outro might come as a surprise, but it is no preparation for the album closer. The aptly titled "Giraffe" is like nothing you've heard here or anywhere else this year. Combining the catchy riffs and mood of a punk song with lyrics that could only be classified as off the wall, this redefines bizarre. With the sound of an accordion blaring out, they decide not to mourn over the dead giraffe, but merely exclaim, "Fuck it! Goblins forever!"

I feel perfectly comfortable admitting that we, both at Sorrow Eternal and the metal brotherhood as a whole, take ourselves and our musical choices way too seriously. We fight, we argue, we complain. Yet, as we do that, we let too many good bands pass us by. Nekrogoblikon might just be the cure for what ails us. One part humor, one part serious metal musicianship, they have the right combination to make an EP that can be enjoyed for fun, or when you are pitting yourself against the world. That rare combination of style and substance makes for a great listen, and an even better water cooler conversation the next day. After all, if you aren't working in a place where goblin metal and various forms of debauchery are acceptable, it might be time to find a new career. At any rate, the EP simply dubbed "Power" is as thrilling as the artwork that accompanies it, and as mind boggling as the lyrics that it contains. So if you have the ability to remove the permanent scowl from your face, the cynical attitude from your head, it might be time to shift gears and go to space. Bring a friend.

Monday, September 16, 2013

The American population has made a filthy habit out of abandoning our own culture. Our food, our sports, even our music. We use and abuse them all, then let others do it more, do it better, or just do it at all. The southern metal scene in the US isn't dead by any stretch of the imagination. But it has, to some degree, gone dormant in the last decade or so. Rifts between some of the biggest names in metal, punctuated by the death of Pantera guitarist Dimebag Darrell Abbot in 2005, have shifted the focus to other genres that have been creeping through Europe for years. But as we focus on the enw wave of folk or black metal, Greece's native sons Potergeist have worked towards and nearly perfected the signature American style. With their last album, "Muddy Murmaids," they brought the American South back to the forefront, blending in elements of the blues and psychedelic features. Now with the release of a new album, they hope to take their our brand of swamp metal for a spin. On "Swampires" they hit, they miss, and do it all with a groove.

After the short intro, the title track fires into full effect, fingers holding picks as they slide up the neck of the guitar. The down south grooves come out in spades, hammering down the massive walls of distortion. Guitarists Nikos XP and Stratal play well off of one another, bending strings in a lead, or nailing down huge chords in rhythm. Every riff has a place, and every possible place is filled with a riff. To complement that, vocalist Alex S.Wamp renews his signature style, one that few in the modern metal arena still employ. His voice, particularly in the songs like "Southern Crown," are reminiscent of late nineties stalwarts like Pantera, crushing down on top of already stomping beats. But what stands out more than his tone is the way he presents it, almost seeming as though this is just the way he sounds, as opposed to forcing growls. The tempo rises and falls as the tracks progress, rarely pairing similar time signatures together. The much more abusive "Every Time I Break" is a showcase for the rhythm section to shine. Bassist Pluto and drummer Tolis Toleas keep the low end theory alive, with the latter beating his kit into oblivion in the breaks. All of this creates optimal space for a squealing solo, delivered handily before the three minute mark.

With each track sharing one thing in common, that southern flare, songs like "Loves Martyr" don't seem out of character for the band, despite being slightly more to the radio friendly side than we've heard from them before. The groove is there, eliciting a solid foot stomp or head nod, but S. Wamp dials back his punch and goes partially melodic here. The bass work is at a premium here,m with one catchy line after another padding out the bridge and outro sections. Some of the blues flavored guitars we loved from previous albums returns on "Rock Fairy," even for a song that might be all too accessible. Heavy handed as it may be, this ballad can't help but escape the pitfalls of the mid-album momentum trap. Rather than furthering the sound, it takes it all back to square one, bringing to muind the radio singles of Seven Mary Three. As a result, it is left to "Hope" to make up some lost ground. But with the album having hit a low, it is an uphill climb to get back on track. The guitar work is fantastic, hitting the right darting notes along the way. But with only a smattering of coarse vocal scattered throughout, it becomes difficult to regain the edge. It isn't until the final minute of the track that they start the process, thanks to a great stomping groove and a quick solo.

Perhaps that small flicker of a flame started the fire burning again, because "King's Army" is a return to the earlier form we had grown to enjoy. S. Wamp brings back that unrefined scream that drives this machine forward, with maintaining a strong blues presence. Each resounding thud from the kick drum pulses through your speaker like a punch, aimed squarely at your rib cage. Leaving the roughest cut for last, "The Time Has Come" may start out as the most impressive song on the album, until the bizarre trip hop chorus kicks in; the sore thumb of an additional that feels more tacked on than anything. Short as it may be, it provides an unwanted distraction from some of the best guitar work on the abum, and arguably S.Wamp's best performance. As his screams grow more grating and unpolished, the music builds around him, twirling riffs cascading from all directions. But even the squealing of a harmonic can't rescue that chorus as it barges in, unwanted, again. Pluto and Toleas do some serious heavy lifting in the latter stages, pushing the track to the finish line. A passing motorcycle ends the album,as it fades into the distance.

You would be hard pressed to find a band in 2013 that embraces the southern metal genre more than Potergeist. They've made in the centerpiece of their sound when many bands had already chosen to move on from it. But regardless of their reasons, they execute it like a band in the prime of their career, often times bringing back memories of the bands that made the sound of the south popular a decade ago. But for an album with so many strong points, "Swampires" remains lopsided, with a flow akin to the roll of an egg. It is front loaded and back loaded, with the middle of the album left a little too light to make it fit. Perhaps it's the ordering of the songs more than the songs themselves, but finding a home for a ballad, and the subsequent rescue effort, is harder than it sounds. That isn't to say that pair of tracks derails the entire album; there is a noticeable recovery that follows. But if you remove the dead weight, "Swampires" goes from being an "almost was" to an "absolutely is." The swamp metal hunt continues.

Sunday, September 15, 2013

A fitting send off to a long vacation. Brian and Rachel join Darrell in the headquarters to talk about all things metal. With Brian now firmly entrenched in the new Messenger album, and not in the good way, he has a lot to say about cheesy metal and rock in all it's forms. Not that there is anything wrong with that. That spins into a tangent, an offshoot, a ramble and a rant, and some twenty minutes later, we try to tie things up in a new little bow. With talk of Haken and A Pregnant Light, it's a packed house tonight!

Special thanks this week go, once again, to North Carolina's Bedowyn,
whose track "Wolves & Trees" graces our opening and closing. Awesome
track from a great band.

Saturday, September 14, 2013

After a blissful week off, Darrell handpicks the three best questions for the week. What genres of metal need to die, how to get your girlfriend into metal, and some of our favorite concert venues, all answered with the thought and care that they deserve!

Friday, September 13, 2013

And so the debate rages on; is it better to be different, or to be good
at doing the same thing? Being different, while refreshing, doesn't
always mean good. Doing the same thing, regardless of how good you are
at it, doesn't always get you noticed. But much like the eventual
meeting between peanut butter and chocolate, it was only a matter of
time before someone did something different, and did it better than
anyone before them. Haken, set to release their third album, may have
stumbled into an unbeatable combination. They've found an open place in
the musical spectrum; one that sits snugly between prog and avant metal
styles, to this point untouched, or at least imperfect. But not only
have they taken their box of 64 Crayola crayons and gone outside the
lines, they've left the paper entirely. With sounds ranging from
barbershop melodies, to thrashing guitars, keyboards that provide more
sounds than you can count, and a constant presence of jazz funk, it's a
wonder this new album can be contained on digital media. Because while
"The Mountain" is different, it's the best something different in a long
time.

It's somewhat refreshing, at times, when bands let a song grow slowly, without any rush to get to the hook. For Haken, "The Path" is that kind of opener, a slow, piano bound introduction, with frontman Ross Jennings invoking elements of classic Queen in his delivery. What allows this pairing to be most successful, though, is that it doesn't stop and start rigidly; it flows from beginning to end, and on into "Atlas Stone." The piano keys, delicate as they are, become the binder. But as the latter begins, the progressive metal elements flow through the dam. It is almost absurd how smooth and free flowing the melodies are here, a fusion of classic prog and soaring guitar solos. Adding another wrinkle to the fabric, bassist Thomas MacLean manages to introduce a fair amount of funk through his alternating slapped and plucked bass lines. Having found a balance to the mix, nothing goes unnoticed in this massive soundscape. That clarity becomes all too important as "Cockroach King" begins, a fun play on the idea of barbershop metal, once dabbled into by Shadow Gallery. This is far from a gimmick, however, as the musicianship goes far beyond a one dimensional foray. The track is broken into pieces, with the dividers coming in the form of wildly eccentric jazz passages and quivering keyboard movements. It is a true rarity to find a song that is equally fun and awe inspiring.

One thing to note; as the album moves along, the lyrical content is nothing short of interesting. It abandons the cliches and three word phrases of many mainstream acts, relying more on wordplay and more intricate structures, such as on "In Memoriam." Along with the more sophisticated vocals, guitarists Richard Henshall and Charles Griffiths put their stamp here, with some great bending string work. The balance between driving and airy is subtle, but appreciated, giving you a depth of sound that strengthens every piece. Once again, they dial it back on the opening to "Because It's There," a seriously rich vocal harmony occupying the spotlight alone. When the rest of the band joins the fray, you have something wholly unique and even more satisfying. Their sound is unlike any band in the world today, at least any that come to mind. Subtle electronic breaks make a world of difference here, adding accent to the main vocal. Keyboardist Diego Tejeida is a mastermind of synthesized sounds, not only in support, but in the lead role. Songs like "Falling Back To Earth" showcase his best work, providing foundation when the guitars dominate, and accent when they fall back into the mix. This a song of tangents, darting off into any numbers of directions, but always coming back to the tow line. For a song that clocks in just shy of twelve minutes, it is a rollercoaster ride of deft instrumentals and versatile vocals.

It's as if the band can hit the reset button at any time, allowing "As Death Embraces" to bring the tempo and the mood back down. Once again, Jennings is joined only by lightly touched piano keys as he croons, a stirring and successful combination. But it is somehow trumped by "Pareidolia," a track that boasts one of the most intense and varied percussion attacks on the album. Drummer Raymond
Hearne, who to this point should be the subject of much awe, explodes here, crashing through a myriad of rolls, fills, and crashes. It becomes impossible to nail down all of the separate elements at play here, with every member of the band providing their own signature touches throughout the eleven minutes of metal glory. If you focus your attention to a particular riff, you'll miss a great bass line. But the common theme remains in broad, sweeping melody that ties the bow around this gift. In one final mood shift, "Somebody" puts Jennings back in the driver's seat, his voice commanding the entire track, and his eccentric combination of words and tones drawing many a nod of approval. But, like the rest of the album, this isn't a one man show. Were it not for the deliberate drum beats of Hearne, the smooth bass lines of MacLean, the rhythm and lead riffs of Henshall and Griffiths, or the beautifully delicate touches of Tejeida, this arch would fall to the ground without cause or meaning.

Very rarely does an album end, leaving you with your head cocked sideways, or your jaw lowered halfway to the floor. We've been fortunate enough to have a few of those experiences. But Haken, with their crayons in hand and unlimited surfaces to color, wouldn't be content to amaze us with their versatility or their eccentricity. They've made an album that is sure to breathe life into a stale, often convoluted progressive metal genre. The album is long, towering well over the hour mark, and yet it doesn't seem nearly long enough to complete the journey they have started you on. From the first track, the colors have already gone outside the black and white structures that the mainstream has put before them. By midway, they have run off the paper and onto the table, chairs, and floor. By the time the last note fades out, and the album has completed, you may need to take a step back to see what's happened. Nine songs, 62 minutes, and a creative flow that goes for days, and what do you have to show for it? Haken has gone ahead and finished their masterpiece. 'The Mountain" just drew a Picasso all over your fucking room.

Thursday, September 12, 2013

For just about everything that goes on in the year 2013, we have a precedent. Events and decisions of the past give us ways to digest that which happens around us each and every day. Court proceedings, life choices, and even music have all been given a frame of reference. But what are we to do, then, when we find something that doesn't? After hearing the music of A Pregnant Light, a one man project from Grand Rapids, Michigan, it is a crisis of knowledge, or lack thereof. Because where Deathless Marantha's work stops and starts, is in a gray area that, to our best of recollection, hasn't really been exposed to this point. He defies conventional genre tagging, and produces the kind of raw energy that ties styles together. But when you have music that is just as much black metal as it is punk, or just as much clean as it is distorted, it is even harder to wrap your head around it. The latest EP, the 66 piece limited cassette run known as "Stars Will Fall" is enough to leave you scratching your head; whether it is out of confusion or joy is up to you.

Finding the thin purple line that exists between punk and black metal might seem difficult in your mind, but within the first few measures of the title track, it becomes a bit more clear. The two styles coexist here, however much of a stretch that could prove to be. Everything is delivered in a very raw state, though barely noticeable coats of polish do creep through the mix from time to time. It is the vocals that will either solidify the album or downgrade it, as the shouts and screams have very little in common with the instrumental itself. The true feast is in the combination of bending guitar grooves, played just loud enough to be audible over the rising distortion and crackling drum beats. It becomes difficult to reconcile the style being played, thanks in part to deep grunts on "My Life Outside The Party." On one hand, you have a casually atmospheric set of guitars; yet, on the other hand, a vocal that is little more than loud speaking, and barely that. Whereas the first track managed at least some sort of rise and fall, this one fails to achieve that same level of investment. The true shame is that the musicianship here is more refined, and yet lacks direction or structure.

There is a lot to take in in just two songs, totally fourteen minutes of sonic delivery. It can quickly become overwhelming, particularly if you have no clue what you've gotten yourself into. That said, there are two ways to approach this EP, both of which must be considered with each and every release that crosses your path; opinion and acceptance. It seems unlikely that this EP, or the greater works of Deathless Marantha, will become staples in the collections of many. The work is too avant, too eccentric, to eclectic to appeal to the majority. With a style like this, one that no one seems to have put their mark on to this point, you are bound to be the reluctant acceptor or a few shaking heads. A Pregnant Light isn't the band that changes the world or landscape of music. That is the opinion part. The acceptance part is much more difficult, and also far more important. After listening to "Stars Will Fall," and judging for ourselves, it is hard to deny that it will be the precedent going forward. And it is time to accept that this will make waves.

Wednesday, September 11, 2013

In the growing sea of power metal, it’s becoming harder and
harder to stand out. Either you stay afloat or you sink to the bottom. The
majority of the time there is no in between. Bands like Powerquest and
Messenger are two of those bands. They aren’t awful and they aren’t amazing,
they’re just there. Messenger’s new
album “Starwolf pt. 1: The Messengers" doesn’t tread any new ground at
all and many of the songs sound the same, but it’s not entirely bad. Some parts
are pretty good, most notably the guitar work. With this being their fifth full
length, much more should be expected. With the onslaught of incredible metal this
year, this album will most likely get lost in the flood.

“Raiders of Galaxy” starts the album on a somewhat high
note. It’s one of the best tracks on the album complete with great guitar work.
It’s just that the uninspired chorus brings it down a notch. “The Spectre”
sounds similar to the previous track but with a better chorus. The guitar work,
again, is great. “Salvation” feels like it’s stuck on the flattest plateau in
the world. It never goes anywhere and is unrewarding. “Pirates of Space” is one
of the corniest tracks on the album. The guitar work is unimpressive which is a
first so far. “Port Royal” is a better track than the last and it’s much
faster. Definitely one of the catchiest yet and the solo is awesome. “Chosen
One” is probably the best track on the album. It’s well written, tight and
epic. Why couldn’t the whole album sound like this? “Earth, Water And Power”
has a great fucking solo but a lackluster everything else. “Reign of the
Righteous” sounds like it could’ve been on Judas Priest’s “Painkiller”. It’s definitely
one of the better tracks on the album. “Thousand Suns of Eternity” has one of
the worst verse parts this year. It’s almost embarrassing and it’s the part
where the album really falls apart. “Starwolf” isn’t any better and “Blackbone
Song” is just downright boring and sounds like it belongs on a Dio b-side
collection. It’s the absolute worst song on the album. “The Path of Science” is
the best track on the second half of the album and it’s a solid track. Closing
the album we have “Born to Face the Wind.” It sounds like a closing track but
it misses the mark. It tries to be to epic and sweeping, but it ends up boring
and forced.

What Messenger have created is something that can be passed
over. Although the guitar work is impressive most of the time and there are some
good ideas in there; they aren’t enough to keep the album’s head above the
water. The whole album feels like a mess and there is no flow. Bands that try
to emulate metal from the 80’s are welcomed but they have to do it right. For
fans of Messenger this is probably a must listen but heed my warning; they don’t
do anything at all to progress their sound. It also doesn’t help that it’s TOO
cheesy. Corny power metal is great, but there are some bands that just don’t do
it right.“Starwolf pt. 1: The Messengers” is nothing to write home about and is
a very generic album. It’s not awful but it could’ve been so much better.

Tuesday, September 10, 2013

Regardless of what language you speak, what language you dream in, there
is one language that unites us, time and time again. And by embracing
that shared love of music, we can tear down the barriers that divide us
in our daily lives. Antillia may be well ahead of the curve on that
notion, and should be recognized for a lot more than where they are
from. Having just released their second EP, and first since 2010, they
have used operatic power metal to circumvent spoken languages, into a
different stratosphere of communication and emotion. Much like their
vocals, they soar over it all, and rain down on you with surgical
precision, and overwhelming beauty. Though only three tracks in length,
"Last Starfall" feels like so much more. And whatever you language of
choice may be, it almost seems worth while to listen to the album in
their native Russian language; only then can you grasp what they put
into it, and how intensely they performed these songs. The EP is every
bit as mesmerizing as the artwork leads you to believe.

Despite the clear language barriers, the band does an amazing job, right from the onset, of communicating through other means. The neoclassical guitars that open "Shaman" speak the universal language of the riff. They ride up and own the scales, accompanied by a battery of percussion that just doesn't quit. Vocalists Alexandr Kolesov and Elena Belova manage to convey so much power through their delivery, without understanding a single word. They soar of the mix, he in a traditional power metal style, she in an operatic tone that hits the highest notes. The tempo is fast and furious, leaving behind it a trail of fire. The title track, "Last Starfall," is a clear statement of dominance, as the orchestrations take the lead, paired with Belova's incredible range. It becomes clear here, even more than before, that they are playing with a stacked deck, as the duel guitars of Vladislav Semin and Valeriy Ostrikov join the fray, laying waste with sweeping melodies and solos. But the icing on this cake is the final track, a metal rendition of "La Diosa Fredda," taken from the opera "Legend of Atlantis." The two styles, when done right, meld together in a beautiful marriage. Antillia go beyond that, giving you a mind-blowing, over the top performance worthy of a lifetime of listens. The aria on display here is a classic in the making.

While we fully admit that artwork can often open our eyes, and ears, to a band just by first glance, it doesn't always work out this well. Antillia have completed what many would describe as the total package of an album; they've nailed the artwork, the style, the band dynamic, the production, and the ability to be memorable. In music, metal or otherwise, there isn't much left to accomplish. With the right winds carrying their music across the globe, we could easily see this Russian dynamo atop many a Top 10 list come years end. But more than that, more than the recognition they might earn as a result, they should be overjoyed with the EP they've put together. No amount of praise of criticism can ever make or break an album for any true artist. And that is what sets Antillia apart from so many of the bands flooding the globe in 2013; they are artists, creating a piece, much like Jean-Patrick Capdevielle as he wrote his greatest work. Only time will tell of this is their masterpiece, or if things are just getting started. In either event, "Last Starfall" is an album for the ages.

Monday, September 9, 2013

It only took four days. That's it. Across the world, 1150 people opened their wallets, swiped the credit cards, doled out their hard earn dollars, euros, pounds, and francs to make an album happen. The concept was simple, yet so intriguing. Katatonia would revisit their latest album, "Dead End Kings," but in a way that would change the album, and our perception of it, forever. In the words of the band, "The synopsis is simple and album title won’t lie; the drums will be dethroned and the distorted rhythm guitars will be uncrowned!" But the question remained; what would Katatonia sound like, without those elements bursting through your speakers on each and every album? And it only took four days. Enough people wanted to hear the resulting work, that the money poured in. A release date has been set, hints have been dropped, and an album is on the way. The track list remains the same, but the sound has completely changed. "Dethroned & Uncrowned" is a new vision.

Much like the remixes that have been a stalwart of their singles over the years, the tracks are particularly moody, but in a way that only Katatonia has been able to achieve. Gone are the crushing riffs and blasting snares on "The Parting." In their place, a stirring blend of acoustic guitars and various synthesized elements. Still at the helm, vocalist Jonas Renkse sees his voice allowed to softly shine through, conveying even more emotion int he stripped down setting. His lyrics become even more powerful, even in the songs that change the least. Having already boasted the most delicate structure, "The One You Are Looking For Is Not Here" might be the poster child for why this album was so well conceived. It remains airy, but even more poignant, backed by piano keys that are softer than soft. Even the darker offerings from "Dead End Kings" see new life here, as "Hypnone" takes on an entirely new identity. All of the markers are there; you know it's the same song, but perception changes.

Conversely, "The Racing Heart," thanks to background keyboards and synths, becomes an ambient delight. With every strum of an acoustic guitar, it imbeds itself further into your brain stem. The layered vocals, taken from the original, are a masterpiece when paired with this sort of medium. Arguably the heaviest track to remake, "Buildings" sees itself reborn as a twisted piano and acoustic guitar melody. Replacing the overwhelming distortion here would prove to be a massive challenge, but one done with an incredible amount of care and melodic sensibility. It's as if they simply slid that input down, and increased the volume that surrounds it, adding new layers of vocals and orchestrations, as they do on "Leech," sometimes invoking a vintage feel to the entire mix. While it isn't a surprise, the voice of Renkse becomes the glue that holds the two versions together. It is his signature crooning that turns the new version of "Ambitions" into a melancholy love song, of sorts. Gone are the bombastic drum beats, in their place, lightly touched keys and strings.

The last third of the album brings a haunting beauty to the table, in ways that may have seemed logical, but needed to be heard to be fully appreciated. There is a methodical precision to the way the acoustics are layered here, creating a depth of sound that is thoroughly enjoyable. It becomes the heaviest track on an album that has stripped that element away, and it does so with as much fervor as it allows. In the same way, the band keeps so much of the energy of "Lethean" in tact, without needing a single blaring riff or kick. It speaks to their talent as songwriters, creating tracks that can be built, torn down, and rebuilt in new configurations. As the song concludes, with Renkse asking, "What took you so long," a single chill runs up your spine. One of the forgotten tracks before, "First Prayer" gets new life here, as layer upon layer of clean guitars, clean vocals, and clean keys cascade together in a wave of down tempo morose. But it is the last track, the first single from "Dead End Kings," that might best summarize a project that seemed out there in the first place. If you remember how "Dead Letters" made you feel when it was released in 2012, you'll get to feel that all over again, a year later.

We've watched Katatonia grow and change over two decades of work. Each album has seen it's fair share of new territory, pushing the boundaries of a band that is running out of frontiers to conquer. But, even with that information in mind, we couldn't have truly seen this album coming. It was a year ago that our review of "Dead End Kings" made it's appearance on the site, and our feelings on that disc haven't changed since then; it has firmly taken a place in our hearts and our rotation. But it was something we said in that review that strikes me as we listen to this new representation of those songs. "Despite this album being an exploration of those dark corridors, this is anything but a dead end. Instead, this is an open door to the next evolution. And now the waiting starts again." We couldn't possibly have known then what we would be witness to now, let alone that it was only a year away. But somehow, it all makes sense. Evolution has a funny way of doing that, you know. And "Dethroned & Uncrowned" is the next logical step towards something else entirely.

Friday, September 6, 2013

Think about the process, just for a minute. How does music get from the band to you? Sure, it's easy to say you found something on the internet, but how did you get there? A blog? Facebook? Word of mouth from a friend? Spreading your music and message can be a very slow process for so many great bands, sometimes taking longer than the shelf life of the band itself. For Illusion Suite, a four piece from Norway, the pandemic began in 2009, with the release of their debut album. But now, some four years later, their name still hasn't appeared in our dreams, or found itself sprawled across a marquee in Times Square. It isn't for lack of talent, or even lack of opportunity. It just takes time, a lot of hard work, and patience to get to that apex. With the release of their second album, they look to speed up the process, and declare themselves not only one of the best bands to come out of Norway in some time, but one of the best progressive power metal bands in the world. If "The Iron Cemetery" doesn't get them some notice, we must be doing it wrong.

An opening track like "Intro" means very little in the scope of an album, with few exceptions. Here, it serves as the launching of the engines, rolling directly into "Orpheus' Quest." Having gotten the flames burning, the band jumps with both feet into the winding, melodic guitars that come to define them. Though, despite what your first impression might be, this is far from standard power metal. The progressive influences are apparent, and help to add an additional layer. Guitarist Kim Jacobsen lays down a bevy of riffs and fret work, never sacrificing the hard edge for a hook; the two are, for Illusion Suite, one and the same. That joint appeal is a large part of the reason songs like "Uni-Twins" can make a lasting impression. Bass players across the world will find enjoyment in the first minute here, as bassist Dag Erik Johnsen does the low end proud with his strong work. it is amazing how easily digestible and free flowing a track like this can be, without carrying the weight of pretentiousness that so many prog power bands have adopted.

In what might qualify as a signature track, "The Iron Cemetery" takes all of the aggression in the instrumental, and uses it to inflate a vocal that would stand firmly on its own. But paired together, they grow and meld into a powerful mixture of melody and hulking, distorted thrash. Singer Bill Makatowicz, who to this point may not be a household name, doesn't just hold his own, and reserve a place in the mix; he excels in all situations. His voice soars over the battery of strings and drums, tinged with electronics and synths, just enough to give an accent to the music. Thankfully, the band ignores the traditional wisdom of the ballad, as "When Love Fails" is anything but. The gallop of the drums would be convincing enough, but the constant motion of the guitars delivers a secondary punch. And while he may be hidden behind some deft and slick guitar and bass work, drummer Roger Bjørge earns his keep on tracks like this. he is the anchor that keeps the track willfully grounded, while keeping his timing both impeccable and devastating. There is a duality to "Nero," then, that makes it all the more exhilarating. Somewhere between the pulsing bass line and the thumping kicks is a space where all five elements come together is perfect balance and harmony.

The last trio of songs all share a common thread, one that extends well beyond their run time. The soaring "Nostradamus' First Prophecy" is bolstered by a strong keyboard presence that was used sparingly o the rest of the album. Quickly played keys, partnered with the main guitar riff, do wonders for the depth of the track, while still adding a different tone to the music itself. Makatowicz flexes his vocal muscle, showing that he can thrive as a cog in a massive gear, or alone, crooning over tightly kept synths. But as "The Ugly Duckling" begins, the mood seems to change, taking on a darker edge. The rhythm section is the backbone here, perhaps more than before. Bjørge and Johnsen never falter, and as a result, the song stays on track and solid. A strong bass solo even takes you to the final act. The album rounds out with a burner of a track, one that puts the pedal down to the metal in the verse sections, only to back off the gas in the chorus. "Premonition" combines the moods of the two previous tracks, brilliantly playing them off one another from movement to movement. It would be easy to single out any one performance here as a great one, but the band at this point is firing on all cylinders, together.

After only one album, it's understandable that more people aren't aware of what Illusion Suite brings to the table. After all, if there is one thing we've learned from cartoons, it's that, "When you do things right, people won't be sure you've done anything at all." And while those words may have been written to describe the plight of a robot playing God, they apply to musicians just as much. But with a second album unleashed, as it were, and results that are consistent and impressive, one would assume that their time in the sun isn't far away. Much like Infinita Symphonia's debut album in 2011, "The Iron Cemetery" may well come to define what progressive power metal is, and should be, in 2013. The combination of melodic elements with crushing guitar passages could serve as a how-to for young bands to come. They flirt with perfection at times, which is a bold statement to make in this business. If this is the career arc they've built for themselves, the follow up might come to be the crowning achievement in modern Norwegian metal.

Thursday, September 5, 2013

We've tried for the better part of two years to come up with the perfect
analogy. An old style coming back around, changed and recast to become
something truly new. Unfortunately, the caterpillar into butterfly
shtick doesn't work here, as the butterfly eventually dies. Perhaps this
is like a campfire, started by bands like Black Sabbath, Deep Purple,
Judas Priest, and Slayer. Left unattended, the fire can grow dark and
burn out. Over time, the embers fade and start to break down. But every
now and then, someone comes along to restart that fire, lighting the
ashes in hopes of it burning as bright, if not brighter, than it has
before. We've seen bands put fuel to that classic metal fire, each one
adding another dash of this or that to make it their own. And as
Raleigh, North Carolina's Bedowyn approach the flame, they carry with
them not a match or a log, but a barrel. Their new EP, the thrashing, quasi melodic "Wolves & Trees" is like sixty gallons of gasoline on a flickering flame.

It would be hard to ignore the influences that appear early in the album, including the opening riff to "Bisha'a." There is a nod hidden there that can be traced back to the biggest bands of the past four decades. But without a vocal element this time around, they leave much of the onus to the guitars and bass to carry the load. Not by coincidence, these happen to be major strengths in the lineup, with bassist Todd Parham consistently delivering on all fronts. Having now established their instrumental depth, the band blasts right into a monstrous thrashing affair, "Evil/Right," complete with a raspy vocal that couldn't be more right for the job. It would be foolish to ignore just how dynamic a vocalist Alex Traboulsi can be, embodying the past-meets-present identity the band has forged for themselves.What remains refreshing is how seamlessly the band joins together, each cog in the gear serving his role to the maximum extent, without overstepping his boundaries. As a result, you get stone cold grooves, like the one that comes at the three minute mark, that could knock you dead, or revive your corpse, depending on your current state of life.

With the mood now set, "O' Bitter Sea" finds it's home right in the middle of the fray. The riffs just keep rolling over you, strengthened by that insanely smooth bass. Guitarist Mark Peters keeps driving the nails into the board, alternating between dense chugging portions and great pick work. But even his work has yet to peak, only increasing in weight as the EP continues. It comes to a head on the classic metal tinged "Wolves & Trees," which comes with a bizarrely accurate Ozzy Osbourne, "Crazy Train"-era maniacal laugh. When you begin to dissect the whole here, you come to the foundation, which is the hammering drum work of Marc Campbell. He might not go for flash and rhinestone jumpsuits, but his stick work is the keystone that allows everything to grow around it. The guitar lead that forms the melody in the outro is the stuff dreams are made of. If the lyrical content has somehow slipped your focused until now, "Snarling Of Beasts" would be the right time to get on board. Over a distorted wall of metal riffs, Traboulsi spins a yarn that could tickle the fancy of any metalhead. "We hear the snarling of beasts! We are the power, building the lightning," he sings with delight. An absolutely ripping solo puts the lid on a burning fire.

It's hard not to overstate the strengths present on this EP. That is to say, everything. Try as you might, it seems damn near impossible to find any way to improve upon the formula that Bedowyn has concocted. They have found a niche that combines something for everyone to enjoy. By no means does that imply that they are watered down or overly accessible. Quite to the contrary; they've harnessed the power of the forefathers of metal, and brought them kicking and screaming into 2013. They've captured all of that warm feeling, without sacrificing production, songwriting, or musicianship. We've seen our fair share of bands throw another log on the fire since it started burning some forty years ago, but very few have seen the flames rise this high. Black Sabbath gathered the kindling, and Bedowyn are burning down the camp sire. The only difference is, without question, I would take Bedowyn over modern day Sabbath any day of the week.